The elevator makes a soft sound as it arrives, and the doors open to the empty chamber. Well, almost empty. There's the mirror, and some posters on the side wall. He looks over it twice before stepping in.
The posters are for GeneCo, and all four of the Largos are on them. As the elevator starts to move up, his eyes linger on one in particular.
Her face isn't familiar, but he knows who it is. She's got new something. Traded in the little girl for something more mature. Maybe the little girl's not all gone, though. He can remember her faintly, through the haze of Marni and Shilo and repossessions and everything else. He doesn't want to lose the memory, and he closes his eyes, trying to find a clear image. Can you lose something you never had?
But he has Shilo. She's safe, and she'll never get lost. Not as long as he's—Nathan opens his eyes.
And the girl plastered on the wall? She's not his to keep or lose. He can't protect her or save her or do anything and he guesses it's better this way. Can't trust a monster.
Maybe if Rotti would just notice her, he might feel less guilty.
That's when the elevator door opens. He feels a little sick. (Never could get used to the new elevators.) Looking up, what he sees doesn't help. Rotti and his spawn are there, and she's half-draped across one of her brothers, and both look idly over at him as he leaves the elevator.
Their eyes follow him, like predators on their prey, but he's here for business. Strictly business. The case goes on the desk, and Rotti asks how Shilo is.
Good, and he drops the packaged lung on the wood surface. Luigi makes a small sound behind him at the splat of fresh organs, and he turns to look at the young man. Luigi's smiling, and staring at the bag like it's full of candy. Amber's stood up, but he doesn't look at her. Strictly business. Eyes off of the children, back to their father.
Rotti's smiling, and it's the predatory, hungry look in his eyes that makes Nathan shiver. He's saying, You should bring Shilo by sometimes. Rotti would love to meet his little girl. He feels a little sick again. Then the older man looks behind Nathan, the hunger replaced by a bitter glower. There's the faint shuffle at his back: Amber moving away, returning to the shadows.
None of his business.
Abruptly—from Rotti—Good, and he's examining the lung. A hint of Luigi's excitement buried deep in those eyes, and Nathan can't look for very long. Turning a little, ignoring the children, he examines the cement walls. An empty picture frame in the corner catches his eye.
Rotti dismisses him, and Nathan glances back, takes the carrying case. Business, and then he turns and leaves. From the shadows with her brother, she smiles, a little smile that reminds him of the little girl. But in the elevator, as he heads down, he still doesn't quite recognize the face on the poster.
